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With twelve essays by leading figures in the field of performance arts, this illustrated volume is structured in two parts. The first, authored by academics in the discipline, features an introduction to key areas of scholastic research. The second part, authored by curators and other researchers, then focuses on an account of individual traditions of performance. 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As the axis connecting the established power centers of Paris, London, and New York became increasingly dominated by monolithic trends including Pop, minimalism, and conceptualism another web of ideas was being spun linking the hubs of Warsaw, Budapest, Zagreb, Buenos Aires, Caracas, and Sao Paulo. These artistic practices were dedicated to what appeared to be an entirely different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. 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Dziewanska's book offers distinct perspectives on Bartuszova's work from renowned international critics in an effort to increase our awareness of her sculptures.  Working alone behind the Iron Curtain, Bartuszova was one of a number of female artists who not only experimented formally and embarked intuitively on new themes, but who, because they were at odds with mainstream modernist trends, remained in isolation or in a marginalized position. Revealing her dynamic treatment of plaster-a material that, from a sculptor's point of view, is both primitive and common-the book deftly reveals how Bartuszova experimented with materials, never hesitating to treat tradition, accepted norms, and trusted techniques as simply transitory and provisional. Offering a much-needed history of a vibrant body of work, Maria Bartuszova: Provisional Forms is an important contribution to the literature on great female artists.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49737599254801,"sku":"NGR9788364177262","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ GOOD \/ INTERNAL","offer_id":53157937611025,"sku":"GOR014788060","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":53158018613521,"sku":"GOR014788352","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/8364177265.jpg?v=1750872071"},{"product_id":"feliza-bursztyn-book-marta-dziewanska-9788857247229","title":"Feliza Bursztyn","description":"\u003cp\u003eSeen as a great artist in Colombia, elsewhere Bursztyn has remained relatively unknown. The publication is a comprehensive survey on pioneering art practice of Bursztyn and seeks to reflect on and animate new tendencies in research on Feliza Bursztyn and her vibrant body of work. It features texts by prominent writers, researchers and curators - Julia Buenaventura, Cecilia Fajardo-Hill, Camilo Leyva, Daniel Muzyczuk, Lucas Ospina, Sylvia Suárez, Gina McDaniel Tarver, Lynn Zelevansky - and rarely published archive materials.\u003cbr\u003e \u003cbr\u003e The publication inaugurates the Muzeum Susch and Skira Editore's series dedicated to re-discovering women artists overlooked by the main canons of art history. A pioneer in kinetic sculpture, Feliza Bursztyn (1933, Bogota-1982, Paris) created wrecked metal sculptures with ghostlike yet comical humanoid traits that addressed the social effects caused by the aggressive modernization of Colombian society. Composed of industrial junk, often motor-animated, these works perform a theater of dystopian industrial hybrids. 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Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement.  Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. 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